Daily Papers

We introduce UniMuMo, a unified multimodal model capable of taking arbitrary text, music, and motion data as input conditions to generate outputs across all three modalities. To address the lack of time-synchronized data, we align unpaired music and motion data based on rhythmic patterns to leverage existing large-scale music-only and motion-only datasets. By converting music, motion, and text into token-based representation, our model bridges these modalities through a unified encoder-decoder transformer architecture. To support multiple generation tasks within a single framework, we introduce several architectural improvements. We propose encoding motion with a music codebook, mapping motion into the same feature space as music. We introduce a music-motion parallel generation scheme that unifies all music and motion generation tasks into a single transformer decoder architecture with a single training task of music-motion joint generation. Moreover, the model is designed by fine-tuning existing pre-trained single-modality models, significantly reducing computational demands. Extensive experiments demonstrate that UniMuMo achieves competitive results on all unidirectional generation benchmarks across music, motion, and text modalities. Quantitative results are available in the https://hanyangclarence.github.io/unimumo_demo/{project page}.

In the heart of "rhythm games" - games where players must perform actions in sync with a piece of music - are "charts", the directives to be given to players. We newly formulate chart generation as a sequence generation task and train a Transformer using a large dataset. We also introduce tempo-informed preprocessing and training procedures, some of which are suggested to be integral for a successful training. Our model is found to outperform the baselines on a large dataset, and is also found to benefit from pretraining and finetuning.

Periodic signals play an important role in daily lives. Although conventional sequential models have shown remarkable success in various fields, they still come short in modeling periodicity; they either collapse, diverge or ignore details. In this paper, we introduce a novel framework inspired by Fourier series to generate periodic signals. We first decompose the given signals into multiple sines and cosines and then conditionally generate periodic signals with the output components. We have shown our model efficacy on three tasks: reconstruction, imputation and conditional generation. Our model outperforms baselines in all tasks and shows more stable and refined results.

While recent generative models can produce engaging music, their utility is limited. The variation in the music is often left to chance, resulting in compositions that lack structure. Pieces extending beyond a minute can become incoherent or repetitive. This paper introduces an approach for generating structured, arbitrarily long musical pieces. Central to this approach is the creation of musical segments using a conditional generative model, with transitions between these segments. The generation of prompts that determine the high-level composition is distinct from the creation of finer, lower-level details. A large language model is then used to suggest the musical form.

The growing popularity of wearable sensors has generated large quantities of temporal physiological and activity data. Ability to analyze this data offers new opportunities for real-time health monitoring and forecasting. However, temporal physiological data presents many analytic challenges: the data is noisy, contains many missing values, and each series has a different length. Most methods proposed for time series analysis and classification do not handle datasets with these characteristics nor do they offer interpretability and explainability, a critical requirement in the health domain. We propose an unsupervised method for learning representations of time series based on common patterns identified within them. The patterns are, interpretable, variable in length, and extracted using Byte Pair Encoding compression technique. In this way the method can capture both long-term and short-term dependencies present in the data. We show that this method applies to both univariate and multivariate time series and beats state-of-the-art approaches on a real world dataset collected from wearable sensors.

We consider the problem of generating musical soundtracks in sync with rhythmic visual cues. Most existing works rely on pre-defined music representations, leading to the incompetence of generative flexibility and complexity. Other methods directly generating video-conditioned waveforms suffer from limited scenarios, short lengths, and unstable generation quality. To this end, we present Long-Term Rhythmic Video Soundtracker (LORIS), a novel framework to synthesize long-term conditional waveforms. Specifically, our framework consists of a latent conditional diffusion probabilistic model to perform waveform synthesis. Furthermore, a series of context-aware conditioning encoders are proposed to take temporal information into consideration for a long-term generation. Notably, we extend our model's applicability from dances to multiple sports scenarios such as floor exercise and figure skating. To perform comprehensive evaluations, we establish a benchmark for rhythmic video soundtracks including the pre-processed dataset, improved evaluation metrics, and robust generative baselines. Extensive experiments show that our model generates long-term soundtracks with state-of-the-art musical quality and rhythmic correspondence. Codes are available at https://github.com/OpenGVLab/LORIS.

Inferring music time structures has a broad range of applications in music production, processing and analysis. Scholars have proposed various methods to analyze different aspects of time structures, such as beat, downbeat, tempo and meter. Many state-of-the-art (SOFA) methods, however, are computationally expensive. This makes them inapplicable in real-world industrial settings where the scale of the music collections can be millions. This paper proposes a new state space and a semi-Markov model for music time structure analysis. The proposed approach turns the commonly used 2D state spaces into a 1D model through a jump-back reward strategy. It reduces the state spaces size drastically. We then utilize the proposed method for causal, joint beat, downbeat, tempo, and meter tracking, and compare it against several previous methods. The proposed method delivers similar performance with the SOFA joint causal models with a much smaller state space and a more than 30 times speedup.

Music foundation models possess impressive music generation capabilities. When people compose music, they may infuse their understanding of music into their work, by using notes and intervals to craft melodies, chords to build progressions, and tempo to create a rhythmic feel. To what extent is this true of music generation models? More specifically, are fundamental Western music theory concepts observable within the "inner workings" of these models? Recent work proposed leveraging latent audio representations from music generation models towards music information retrieval tasks (e.g. genre classification, emotion recognition), which suggests that high-level musical characteristics are encoded within these models. However, probing individual music theory concepts (e.g. tempo, pitch class, chord quality) remains under-explored. Thus, we introduce SynTheory, a synthetic MIDI and audio music theory dataset, consisting of tempos, time signatures, notes, intervals, scales, chords, and chord progressions concepts. We then propose a framework to probe for these music theory concepts in music foundation models (Jukebox and MusicGen) and assess how strongly they encode these concepts within their internal representations. Our findings suggest that music theory concepts are discernible within foundation models and that the degree to which they are detectable varies by model size and layer.

We introduce anticipation: a method for constructing a controllable generative model of a temporal point process (the event process) conditioned asynchronously on realizations of a second, correlated process (the control process). We achieve this by interleaving sequences of events and controls, such that controls appear following stopping times in the event sequence. This work is motivated by problems arising in the control of symbolic music generation. We focus on infilling control tasks, whereby the controls are a subset of the events themselves, and conditional generation completes a sequence of events given the fixed control events. We train anticipatory infilling models using the large and diverse Lakh MIDI music dataset. These models match the performance of autoregressive models for prompted music generation, with the additional capability to perform infilling control tasks, including accompaniment. Human evaluators report that an anticipatory model produces accompaniments with similar musicality to even music composed by humans over a 20-second clip.

The online estimation of rhythmic information, such as beat positions, downbeat positions, and meter, is critical for many real-time music applications. Musical rhythm comprises complex hierarchical relationships across time, rendering its analysis intrinsically challenging and at times subjective. Furthermore, systems which attempt to estimate rhythmic information in real-time must be causal and must produce estimates quickly and efficiently. In this work, we introduce an online system for joint beat, downbeat, and meter tracking, which utilizes causal convolutional and recurrent layers, followed by a pair of sequential Monte Carlo particle filters applied during inference. The proposed system does not need to be primed with a time signature in order to perform downbeat tracking, and is instead able to estimate meter and adjust the predictions over time. Additionally, we propose an information gate strategy to significantly decrease the computational cost of particle filtering during the inference step, making the system much faster than previous sampling-based methods. Experiments on the GTZAN dataset, which is unseen during training, show that the system outperforms various online beat and downbeat tracking systems and achieves comparable performance to a baseline offline joint method.

The objective is the design of a Cellular Automata rule that can form patterns with 'touching' loops. A loop is defined as a closed path of 1-cells in a 2D grid on a zero background and with a zero border. A path cell is connected with two of its adjacent neighbors. In touching loops a path cell is also allowed to touch another on a diagonal. A CA rule was designed that can evolve stable touching loop patterns. The rule tries to cover the 2D space by overlapping tiles. The rule uses so-called templates, 5 x 5 matching patterns which are systematically derived from the given set of 3 x 3 tiles. The rule checks the pattern being evolved against a list of templates. If the outer neighbors of a template match, then the cell's state is set to the template's center value. Noise is injected if there is no matching template, or the tiles are not properly assembled. Thereby the evolution is driven to the desired loop patterns.

This paper reports on patterns exhibiting self-replication with spontaneous, inheritable mutations and exponential genetic drift in Neural Cellular Automata. Despite the models not being explicitly trained for mutation or inheritability, the descendant patterns exponentially drift away from ancestral patterns, even when the automaton is deterministic. While this is far from being the first instance of evolutionary dynamics in a cellular automaton, it is the first to do so by exploiting the power and convenience of Neural Cellular Automata, arguably increasing the space of variations and the opportunity for Open Ended Evolution.

The realization that complex systems such as ecological communities can collapse or shift regimes suddenly and without rapid external forcing poses a serious challenge to our understanding and management of the natural world. The potential to identify early warning signals that would allow researchers and managers to predict such events before they happen has therefore been an invaluable discovery that offers a way forward in spite of such seemingly unpredictable behavior. Research into early warning signals has demonstrated that it is possible to define and detect such early warning signals in advance of a transition in certain contexts. Here we describe the pattern emerging as research continues to explore just how far we can generalize these results. A core of examples emerges that shares three properties: the phenomenon of rapid regime shifts, a pattern of 'critical slowing down' that can be used to detect the approaching shift, and a mechanism of bifurcation driving the sudden change. As research has expanded beyond these core examples, it is becoming clear that not all systems that show regime shifts exhibit critical slowing down, or vice versa. Even when systems exhibit critical slowing down, statistical detection is a challenge. We review the literature that explores these edge cases and highlight the need for (a) new early warning behaviors that can be used in cases where rapid shifts do not exhibit critical slowing down, (b) the development of methods to identify which behavior might be an appropriate signal when encountering a novel system; bearing in mind that a positive indication for some systems is a negative indication in others, and (c) statistical methods that can distinguish between signatures of early warning behaviors and noise.

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with industry partners that explore the integration and evaluation of MIDI-GPT into commercial products, as well as several artistic works produced using it.

We propose a self-consistent explanation of Rieger-type periodicities, the Schwabe cycle, and the Suess-de Vries cycle of the solar dynamo in terms of resonances of various wave phenomena with gravitational forces exerted by the orbiting planets. Starting on the high-frequency side, we show that the two-planet spring tides of Venus, Earth and Jupiter are able to excite magneto-Rossby waves which can be linked with typical Rieger-type periods. We argue then that the 11.07-year beat period of those magneto-Rossby waves synchronizes an underlying conventional alpha-Omega-dynamo, by periodically changing either the field storage capacity in the tachocline or some portion of the alpha-effect therein. We also strengthen the argument that the Suess-de Vries cycle appears as an 193-year beat period between the 22.14-year Hale cycle and a spin-orbit coupling effect related with the 19.86-year rosette-like motion of the Sun around the barycenter.

We propose a novel nonlinear bidirectionally coupled heterogeneous chain network whose dynamics evolve in discrete time. The backbone of the model is a pair of popular map-based neuron models, the Chialvo and the Rulkov maps. This model is assumed to proximate the intricate dynamical properties of neurons in the widely complex nervous system. The model is first realized via various nonlinear analysis techniques: fixed point analysis, phase portraits, Jacobian matrix, and bifurcation diagrams. We observe the coexistence of chaotic and period-4 attractors. Various codimension-1 and -2 patterns for example saddle-node, period-doubling, Neimark-Sacker, double Neimark-Sacker, flip- and fold-Neimark Sacker, and 1:1 and 1:2 resonance are also explored. Furthermore, the study employs two synchronization measures to quantify how the oscillators in the network behave in tandem with each other over a long number of iterations. Finally, a time series analysis of the model is performed to investigate its complexity in terms of sample entropy.

Recent advancements in music generation have garnered significant attention, yet existing approaches face critical limitations. Some current generative models can only synthesize either the vocal track or the accompaniment track. While some models can generate combined vocal and accompaniment, they typically rely on meticulously designed multi-stage cascading architectures and intricate data pipelines, hindering scalability. Additionally, most systems are restricted to generating short musical segments rather than full-length songs. Furthermore, widely used language model-based methods suffer from slow inference speeds. To address these challenges, we propose DiffRhythm, the first latent diffusion-based song generation model capable of synthesizing complete songs with both vocal and accompaniment for durations of up to 4m45s in only ten seconds, maintaining high musicality and intelligibility. Despite its remarkable capabilities, DiffRhythm is designed to be simple and elegant: it eliminates the need for complex data preparation, employs a straightforward model structure, and requires only lyrics and a style prompt during inference. Additionally, its non-autoregressive structure ensures fast inference speeds. This simplicity guarantees the scalability of DiffRhythm. Moreover, we release the complete training code along with the pre-trained model on large-scale data to promote reproducibility and further research.

Data of sequential nature arise in many application domains in forms of, e.g. textual data, DNA sequences, and software execution traces. Different research disciplines have developed methods to learn sequence models from such datasets: (i) in the machine learning field methods such as (hidden) Markov models and recurrent neural networks have been developed and successfully applied to a wide-range of tasks, (ii) in process mining process discovery techniques aim to generate human-interpretable descriptive models, and (iii) in the grammar inference field the focus is on finding descriptive models in the form of formal grammars. Despite their different focuses, these fields share a common goal - learning a model that accurately describes the behavior in the underlying data. Those sequence models are generative, i.e, they can predict what elements are likely to occur after a given unfinished sequence. So far, these fields have developed mainly in isolation from each other and no comparison exists. This paper presents an interdisciplinary experimental evaluation that compares sequence modeling techniques on the task of next-element prediction on four real-life sequence datasets. The results indicate that machine learning techniques that generally have no aim at interpretability in terms of accuracy outperform techniques from the process mining and grammar inference fields that aim to yield interpretable models.

Even with strong sequence models like Transformers, generating expressive piano performances with long-range musical structures remains challenging. Meanwhile, methods to compose well-structured melodies or lead sheets (melody + chords), i.e., simpler forms of music, gained more success. Observing the above, we devise a two-stage Transformer-based framework that Composes a lead sheet first, and then Embellishes it with accompaniment and expressive touches. Such a factorization also enables pretraining on non-piano data. Our objective and subjective experiments show that Compose & Embellish shrinks the gap in structureness between a current state of the art and real performances by half, and improves other musical aspects such as richness and coherence as well.

Diffusion models have shown promising results in cross-modal generation tasks involving audio and music, such as text-to-sound and text-to-music generation. These text-controlled music generation models typically focus on generating music by capturing global musical attributes like genre and mood. However, music composition is a complex, multilayered task that often involves musical arrangement as an integral part of the process. This process involves composing each instrument to align with existing ones in terms of beat, dynamics, harmony, and melody, requiring greater precision and control over tracks than text prompts usually provide. In this work, we address these challenges by extending the MusicLDM, a latent diffusion model for music, into a multi-track generative model. By learning the joint probability of tracks sharing a context, our model is capable of generating music across several tracks that correspond well to each other, either conditionally or unconditionally. Additionally, our model is capable of arrangement generation, where the model can generate any subset of tracks given the others (e.g., generating a piano track complementing given bass and drum tracks). We compared our model with an existing multi-track generative model and demonstrated that our model achieves considerable improvements across objective metrics for both total and arrangement generation tasks.

Recognizing the flow of time in a story is a crucial aspect of understanding it. Prior work related to time has primarily focused on identifying temporal expressions or relative sequencing of events, but here we propose computationally annotating each line of a book with wall clock times, even in the absence of explicit time-descriptive phrases. To do so, we construct a data set of hourly time phrases from 52,183 fictional books. We then construct a time-of-day classification model that achieves an average error of 2.27 hours. Furthermore, we show that by analyzing a book in whole using dynamic programming of breakpoints, we can roughly partition a book into segments that each correspond to a particular time-of-day. This approach improves upon baselines by over two hours. Finally, we apply our model to a corpus of literature categorized by different periods in history, to show interesting trends of hourly activity throughout the past. Among several observations we find that the fraction of events taking place past 10 P.M jumps past 1880 - coincident with the advent of the electric light bulb and city lights.

In this paper, we present MusPy, an open source Python library for symbolic music generation. MusPy provides easy-to-use tools for essential components in a music generation system, including dataset management, data I/O, data preprocessing and model evaluation. In order to showcase its potential, we present statistical analysis of the eleven datasets currently supported by MusPy. Moreover, we conduct a cross-dataset generalizability experiment by training an autoregressive model on each dataset and measuring held-out likelihood on the others---a process which is made easier by MusPy's dataset management system. The results provide a map of domain overlap between various commonly used datasets and show that some datasets contain more representative cross-genre samples than others. Along with the dataset analysis, these results might serve as a guide for choosing datasets in future research. Source code and documentation are available at https://github.com/salu133445/muspy .

Earthquakes are evaluated among the most destructive disasters for human beings, as also experienced for Turkiye region. Data science has the property of discovering hidden patterns in case a sufficient volume of data is supplied. Time dependency of events, specifically being defined by co-occurrence in a specific time window, may be handled as an associate rule mining task such as a market-basket analysis application. In this regard, we assumed each day's seismic activity as a single basket of events, leading to discovering the association patterns between these events. Consequently, this study presents the most prominent association rules for the earthquakes recorded in Turkiye region in the last 5 years, each year presented separately. Results indicate statistical inference with events recorded from regions of various distances, which could be further verified with geologic evidence from the field. As a result, we believe that the current study may form a statistical basis for the future works with the aid of machine learning algorithm performed for associate rule mining.

A sample of 60,410 bona fide optical quasars with astrometric proper motions in Gaia EDR3 and spectroscopic redshifts above 0.5 in an oval 8400 square degree area of the sky is constructed. Using orthogonal Zernike functions of polar coordinates, the proper motion fields are fitted in a weighted least-squares adjustment of the entire sample and of six equal bins of sorted redshifts. The overall fit with 37 Zernike functions reveals a statistically significant pattern, which is likely to be of instrumental origin. The main feature of this pattern is a chain of peaks and dips mostly in the R.A. component with an amplitude of 25~muas yr^{-1}. This field is subtracted from each of the six analogous fits for quasars grouped by redshifts covering the range 0.5 through 7.03, with median values 0.72, 1.00, 1.25, 1.52, 1.83, 2.34. The resulting residual patterns are noisier, with formal uncertainties up to 8~muas yr^{-1} in the central part of the area. We detect a single high-confidence Zernike term for R.A. proper motion components of quasars with redshifts around 1.52 representing a general gradient of 30 muas yr^{-1} over 150degr on the sky. We do not find any small- or medium-scale systemic variations of the residual proper motion field as functions of redshift above the 2.5,sigma significance level.

In this work, we aim to estimate the stellar parameters of the primary (Aa) by performing asteroseismic analysis on its period-spacing pattern. We use the C-3PO neural network to perform asteroseismic modelling of the g-mode period-spacing pattern of Aa, discussing the interplay of this information with external constraints from spectroscopy (T_{rm eff} and log(g)) and eclipse modelling (R). To estimate the level of uncertainty due to different frequency extraction and pattern identification processes, we consider four different variations on the period-spacing patterns. To better understand the correlations between and the uncertainty structure of our parameter estimates, we also employed a classical, parameter-based MCMC grid search on four different stellar grids. The best-fitting, externally constrained model to the period-spacing pattern arrives at estimates of the stellar properties for Aa of: M=1.51 pm 0.05 M_odot, X_c =0.43 pm 0.04, R=1.66 pm 0.1 R_odot, f_{rm ov}=0.010, Omega_c=1.58 pm 0.01 d^{-1} with rigid rotation to within the measurement errors, log(T_{rm eff})=3.856 pm 0.008 dex, log(g)=4.18 pm 0.04 dex, and log(L)=0.809 pm 0.005 dex, which agree well with previous measurements from eclipse modelling, spectroscopy, and the Gaia DR3 luminosity. We find that the near-core properties of the best-fitting asteroseismic models are consistent with external constraints from eclipse modelling and spectroscopy. Aa appears to be a typical example of a gamma Dor star, fitting well within existing populations. We find that Aa is quasi-rigidly rotating to within the uncertainties, and note that the asteroseismic age estimate for Aa (1100 pm 100 Myr) is considerably older than the young (35 Myr) age implied by previous isochrone fits to the B binary in the literature. Our MCMC parameter-based grid-search agrees well with our pattern-modelling approach.

Graphs can be leveraged to model polyphonic multitrack symbolic music, where notes, chords and entire sections may be linked at different levels of the musical hierarchy by tonal and rhythmic relationships. Nonetheless, there is a lack of works that consider graph representations in the context of deep learning systems for music generation. This paper bridges this gap by introducing a novel graph representation for music and a deep Variational Autoencoder that generates the structure and the content of musical graphs separately, one after the other, with a hierarchical architecture that matches the structural priors of music. By separating the structure and content of musical graphs, it is possible to condition generation by specifying which instruments are played at certain times. This opens the door to a new form of human-computer interaction in the context of music co-creation. After training the model on existing MIDI datasets, the experiments show that the model is able to generate appealing short and long musical sequences and to realistically interpolate between them, producing music that is tonally and rhythmically consistent. Finally, the visualization of the embeddings shows that the model is able to organize its latent space in accordance with known musical concepts.

This paper presents prompt design techniques for software engineering, in the form of patterns, to solve common problems when using large language models (LLMs), such as ChatGPT to automate common software engineering activities, such as ensuring code is decoupled from third-party libraries and simulating a web application API before it is implemented. This paper provides two contributions to research on using LLMs for software engineering. First, it provides a catalog of patterns for software engineering that classifies patterns according to the types of problems they solve. Second, it explores several prompt patterns that have been applied to improve requirements elicitation, rapid prototyping, code quality, refactoring, and system design.

A network-based approach is presented to investigate the cerebrovascular flow patterns during atrial fibrillation (AF) with respect to normal sinus rhythm (NSR). AF, the most common cardiac arrhythmia with faster and irregular beating, has been recently and independently associated with the increased risk of dementia. However, the underlying hemodynamic mechanisms relating the two pathologies remain mainly undetermined so far; thus the contribution of modeling and refined statistical tools is valuable. Pressure and flow rate temporal series in NSR and AF are here evaluated along representative cerebral sites (from carotid arteries to capillary brain circulation), exploiting reliable artificially built signals recently obtained from an in silico approach. The complex network analysis evidences, in a synthetic and original way, a dramatic signal variation towards the distal/capillary cerebral regions during AF, which has no counterpart in NSR conditions. At the large artery level, networks obtained from both AF and NSR hemodynamic signals exhibit elongated and chained features, which are typical of pseudo-periodic series. These aspects are almost completely lost towards the microcirculation during AF, where the networks are topologically more circular and present random-like characteristics. As a consequence, all the physiological phenomena at microcerebral level ruled by periodicity - such as regular perfusion, mean pressure per beat, and average nutrient supply at cellular level - can be strongly compromised, since the AF hemodynamic signals assume irregular behaviour and random-like features. Through a powerful approach which is complementary to the classical statistical tools, the present findings further strengthen the potential link between AF hemodynamic and cognitive decline.

We construct a corpus of Japanese a cappella vocal ensembles (jaCappella corpus) for vocal ensemble separation and synthesis. It consists of 35 copyright-cleared vocal ensemble songs and their audio recordings of individual voice parts. These songs were arranged from out-of-copyright Japanese children's songs and have six voice parts (lead vocal, soprano, alto, tenor, bass, and vocal percussion). They are divided into seven subsets, each of which features typical characteristics of a music genre such as jazz and enka. The variety in genre and voice part match vocal ensembles recently widespread in social media services such as YouTube, although the main targets of conventional vocal ensemble datasets are choral singing made up of soprano, alto, tenor, and bass. Experimental evaluation demonstrates that our corpus is a challenging resource for vocal ensemble separation. Our corpus is available on our project page (https://tomohikonakamura.github.io/jaCappella_corpus/).

In recent years, deep learning techniques have been applied to music generation systems with promising results. However, one of the main challenges in this field has been the lack of annotated datasets, making it difficult for models to learn musical forms in compositions. To address this issue, we present TunesFormer, a Transformer-based melody generation system that is trained on a large dataset of 285,449 ABC tunes. By utilizing specific symbols commonly found in ABC notation to indicate section boundaries, TunesFormer can understand and generate melodies with given musical forms based on control codes. Our objective evaluations demonstrate the effectiveness of the control codes in achieving controlled musical forms, and subjective experiments show that the generated melodies are of comparable quality to human compositions. Our results also provide insights into the optimal placement of control codes and their impact on the generated melodies. TunesFormer presents a promising approach for generating melodies with desired musical forms through the use of deep learning techniques.

We present JASCO, a temporally controlled text-to-music generation model utilizing both symbolic and audio-based conditions. JASCO can generate high-quality music samples conditioned on global text descriptions along with fine-grained local controls. JASCO is based on the Flow Matching modeling paradigm together with a novel conditioning method. This allows music generation controlled both locally (e.g., chords) and globally (text description). Specifically, we apply information bottleneck layers in conjunction with temporal blurring to extract relevant information with respect to specific controls. This allows the incorporation of both symbolic and audio-based conditions in the same text-to-music model. We experiment with various symbolic control signals (e.g., chords, melody), as well as with audio representations (e.g., separated drum tracks, full-mix). We evaluate JASCO considering both generation quality and condition adherence, using both objective metrics and human studies. Results suggest that JASCO is comparable to the evaluated baselines considering generation quality while allowing significantly better and more versatile controls over the generated music. Samples are available on our demo page https://pages.cs.huji.ac.il/adiyoss-lab/JASCO.

We present FiloBass: a novel corpus of music scores and annotations which focuses on the important but often overlooked role of the double bass in jazz accompaniment. Inspired by recent work that sheds light on the role of the soloist, we offer a collection of 48 manually verified transcriptions of professional jazz bassists, comprising over 50,000 note events, which are based on the backing tracks used in the FiloSax dataset. For each recording we provide audio stems, scores, performance-aligned MIDI and associated metadata for beats, downbeats, chord symbols and markers for musical form. We then use FiloBass to enrich our understanding of jazz bass lines, by conducting a corpus-based musical analysis with a contrastive study of existing instructional methods. Together with the original FiloSax dataset, our work represents a significant step toward a fully annotated performance dataset for a jazz quartet setting. By illuminating the critical role of the bass in jazz, this work contributes to a more nuanced and comprehensive understanding of the genre.

We apply a Gaussian process method to the extreme gamma-ray flares of 3C 454.3 and 3C 279 to discover the variable patterns and then to investigate the physical origins of the giant flares. The kernels of stochastically driven damped simple harmonic oscillator (SHO), the damped random-walk (DRW), and Matrm ern-3/2 are respectively used to describe the adaptive-binning gamma-ray light curves of the two flares. Our findings show that both the extreme gamma-ray flares of 3C 454.3 and 3C 279 clearly prefer the SHO kernel in the over-damped mode and the Matrm ern-3/2 kernel over the DRW kernel. The resulted SHO and Matrm ern-3/2 power spectral densities (PSDs) are the same for each object, with the index changing from -4 at high frequencies to 0 at low frequencies. The patterns of the two flares are both approaching the critical damping mode with the quality factor Q approx 0.4 (i.e., the damping ratio eta approx 1.25), but with slightly different damping timescales. The characteristic timescale (corresponding to the broken frequency in the PSD) for 3C 454.3 is 2-3 days and 3-5 days for 3C 279. The variable patterns found here suggest that once the system responds to the energy injection disturbance, the release of the energy in the system is finished abruptly. The obtained timescale provides a constraint on the size of energy dissipation region for each source.

We present a dataset for investigating the impact of stellar activity on astrometric measurements using NASA's Solar Dynamics Observatory (SDO) images of the Sun. The sensitivity of astrometry for detecting exoplanets is limited by stellar activity (e.g. starspots), which causes the measured "center of flux" of the star to deviate from the true, geometric, center, producing false positive detections. We analyze Helioseismic and Magnetic Imager continuum image data obtained from SDO between July 2015 and December 2022 to examine this "astrometric jitter" phenomenon for the Sun. We employ data processing procedures to clean the images and compute the time series of the sunspot-induced shift between the center of flux and the geometric center. The resulting time series show quasiperiodic variations up to 0.05% of the Sun's radius at its rotation period.

Irregularly sampled time series data arise naturally in many application domains including biology, ecology, climate science, astronomy, and health. Such data represent fundamental challenges to many classical models from machine learning and statistics due to the presence of non-uniform intervals between observations. However, there has been significant progress within the machine learning community over the last decade on developing specialized models and architectures for learning from irregularly sampled univariate and multivariate time series data. In this survey, we first describe several axes along which approaches to learning from irregularly sampled time series differ including what data representations they are based on, what modeling primitives they leverage to deal with the fundamental problem of irregular sampling, and what inference tasks they are designed to perform. We then survey the recent literature organized primarily along the axis of modeling primitives. We describe approaches based on temporal discretization, interpolation, recurrence, attention and structural invariance. We discuss similarities and differences between approaches and highlight primary strengths and weaknesses.

Music relies heavily on repetition to build structure and meaning. Self-reference occurs on multiple timescales, from motifs to phrases to reusing of entire sections of music, such as in pieces with ABA structure. The Transformer (Vaswani et al., 2017), a sequence model based on self-attention, has achieved compelling results in many generation tasks that require maintaining long-range coherence. This suggests that self-attention might also be well-suited to modeling music. In musical composition and performance, however, relative timing is critically important. Existing approaches for representing relative positional information in the Transformer modulate attention based on pairwise distance (Shaw et al., 2018). This is impractical for long sequences such as musical compositions since their memory complexity for intermediate relative information is quadratic in the sequence length. We propose an algorithm that reduces their intermediate memory requirement to linear in the sequence length. This enables us to demonstrate that a Transformer with our modified relative attention mechanism can generate minute-long compositions (thousands of steps, four times the length modeled in Oore et al., 2018) with compelling structure, generate continuations that coherently elaborate on a given motif, and in a seq2seq setup generate accompaniments conditioned on melodies. We evaluate the Transformer with our relative attention mechanism on two datasets, JSB Chorales and Piano-e-Competition, and obtain state-of-the-art results on the latter.

We put forward the dynamical study of a novel higher-order small network of Chialvo neurons arranged in a ring-star topology, with the neurons interacting via linear diffusive couplings. This model is perceived to imitate the nonlinear dynamical properties exhibited by a realistic nervous system where the neurons transfer information through higher-order multi-body interactions. We first analyze our model using the tools from nonlinear dynamics literature: fixed point analysis, Jacobian matrix, and bifurcation patterns. We observe the coexistence of chaotic attractors, and also an intriguing route to chaos starting from a fixed point, to period-doubling, to cyclic quasiperiodic closed invariant curves, to ultimately chaos. We numerically observe the existence of codimension-1 bifurcation patterns: saddle-node, period-doubling, and Neimark Sacker. We also qualitatively study the typical phase portraits of the system and numerically quantify chaos and complexity using the 0-1 test and sample entropy measure respectively. Finally, we study the collective behavior of the neurons in terms of two synchronization measures: the cross-correlation coefficient, and the Kuramoto order parameter.

Generative models guided by text prompts are increasingly becoming more popular. However, no text-to-MIDI models currently exist, mostly due to the lack of a captioned MIDI dataset. This work aims to enable research that combines LLMs with symbolic music by presenting the first large-scale MIDI dataset with text captions that is openly available: MidiCaps. MIDI (Musical Instrument Digital Interface) files are a widely used format for encoding musical information. Their structured format captures the nuances of musical composition and has practical applications by music producers, composers, musicologists, as well as performers. Inspired by recent advancements in captioning techniques applied to various domains, we present a large-scale curated dataset of over 168k MIDI files accompanied by textual descriptions. Each MIDI caption succinctly describes the musical content, encompassing tempo, chord progression, time signature, instruments present, genre and mood; thereby facilitating multi-modal exploration and analysis. The dataset contains a mix of various genres, styles, and complexities, offering a rich source for training and evaluating models for tasks such as music information retrieval, music understanding and cross-modal translation. We provide detailed statistics about the dataset and have assessed the quality of the captions in an extensive listening study. We anticipate that this resource will stimulate further research in the intersection of music and natural language processing, fostering advancements in both fields.

Multivariate time series forecasting is an important machine learning problem across many domains, including predictions of solar plant energy output, electricity consumption, and traffic jam situation. Temporal data arise in these real-world applications often involves a mixture of long-term and short-term patterns, for which traditional approaches such as Autoregressive models and Gaussian Process may fail. In this paper, we proposed a novel deep learning framework, namely Long- and Short-term Time-series network (LSTNet), to address this open challenge. LSTNet uses the Convolution Neural Network (CNN) and the Recurrent Neural Network (RNN) to extract short-term local dependency patterns among variables and to discover long-term patterns for time series trends. Furthermore, we leverage traditional autoregressive model to tackle the scale insensitive problem of the neural network model. In our evaluation on real-world data with complex mixtures of repetitive patterns, LSTNet achieved significant performance improvements over that of several state-of-the-art baseline methods. All the data and experiment codes are available online.

We present the Melody Guided Music Generation (MMGen) model, the first novel approach using melody to guide the music generation that, despite a pretty simple method and extremely limited resources, achieves excellent performance. Specifically, we first align the melody with audio waveforms and their associated descriptions using the multimodal alignment module. Subsequently, we condition the diffusion module on the learned melody representations. This allows MMGen to generate music that matches the style of the provided audio while also producing music that reflects the content of the given text description. To address the scarcity of high-quality data, we construct a multi-modal dataset, MusicSet, which includes melody, text, and audio, and will be made publicly available. We conduct extensive experiments which demonstrate the superiority of the proposed model both in terms of experimental metrics and actual performance quality.

Audio pattern recognition is an important research topic in the machine learning area, and includes several tasks such as audio tagging, acoustic scene classification, music classification, speech emotion classification and sound event detection. Recently, neural networks have been applied to tackle audio pattern recognition problems. However, previous systems are built on specific datasets with limited durations. Recently, in computer vision and natural language processing, systems pretrained on large-scale datasets have generalized well to several tasks. However, there is limited research on pretraining systems on large-scale datasets for audio pattern recognition. In this paper, we propose pretrained audio neural networks (PANNs) trained on the large-scale AudioSet dataset. These PANNs are transferred to other audio related tasks. We investigate the performance and computational complexity of PANNs modeled by a variety of convolutional neural networks. We propose an architecture called Wavegram-Logmel-CNN using both log-mel spectrogram and waveform as input feature. Our best PANN system achieves a state-of-the-art mean average precision (mAP) of 0.439 on AudioSet tagging, outperforming the best previous system of 0.392. We transfer PANNs to six audio pattern recognition tasks, and demonstrate state-of-the-art performance in several of those tasks. We have released the source code and pretrained models of PANNs: https://github.com/qiuqiangkong/audioset_tagging_cnn.

Instrument playing techniques (IPTs) constitute a pivotal component of musical expression. However, the development of automatic IPT detection methods suffers from limited labeled data and inherent class imbalance issues. In this paper, we propose to apply a self-supervised learning model pre-trained on large-scale unlabeled music data and finetune it on IPT detection tasks. This approach addresses data scarcity and class imbalance challenges. Recognizing the significance of pitch in capturing the nuances of IPTs and the importance of onset in locating IPT events, we investigate multi-task finetuning with pitch and onset detection as auxiliary tasks. Additionally, we apply a post-processing approach for event-level prediction, where an IPT activation initiates an event only if the onset output confirms an onset in that frame. Our method outperforms prior approaches in both frame-level and event-level metrics across multiple IPT benchmark datasets. Further experiments demonstrate the efficacy of multi-task finetuning on each IPT class.

Quasi-periodic pulsations (QPPs) of Sun and stars are challenging for stellar flare models. The white light stellar QPPs in the periodicity region of tens of second are unexplored yet. On the basis of observations with the 6-m telescope BTA in U-band of flaring dM-stars EV Lac, Wolf 359, Wolf 424, V577 Mon and UV Ceti we found 13 new QPPs. This composes 30% occurrence among 44 worked flares. These QPPs were found to have periods ranging from 6 to 107 seconds and were detected using both Fourier transform and empirical mode decomposition methods. The observed QPPs were categorized by the evolution of their oscillation envelope and fractional flux amplitudes. There are shown the statistically significant correlations of the QPP period with the duration, the equivalent duration and the amplitude of a flare, and the correlation between the QPP amplitude and flare amplitude.

In this paper, we propose the use of spatial and harmonic features in combination with long short term memory (LSTM) recurrent neural network (RNN) for automatic sound event detection (SED) task. Real life sound recordings typically have many overlapping sound events, making it hard to recognize with just mono channel audio. Human listeners have been successfully recognizing the mixture of overlapping sound events using pitch cues and exploiting the stereo (multichannel) audio signal available at their ears to spatially localize these events. Traditionally SED systems have only been using mono channel audio, motivated by the human listener we propose to extend them to use multichannel audio. The proposed SED system is compared against the state of the art mono channel method on the development subset of TUT sound events detection 2016 database. The usage of spatial and harmonic features are shown to improve the performance of SED.

Large language models have shown significant capabilities across various domains, including symbolic music generation. However, leveraging these pre-trained models for controllable music arrangement tasks, each requiring different forms of musical information as control, remains a novel challenge. In this paper, we propose a unified sequence-to-sequence framework that enables the fine-tuning of a symbolic music language model for multiple multi-track arrangement tasks, including band arrangement, piano reduction, drum arrangement, and voice separation. Our experiments demonstrate that the proposed approach consistently achieves higher musical quality compared to task-specific baselines across all four tasks. Furthermore, through additional experiments on probing analysis, we show the pre-training phase equips the model with essential knowledge to understand musical conditions, which is hard to acquired solely through task-specific fine-tuning.

We introduce Noise2Music, where a series of diffusion models is trained to generate high-quality 30-second music clips from text prompts. Two types of diffusion models, a generator model, which generates an intermediate representation conditioned on text, and a cascader model, which generates high-fidelity audio conditioned on the intermediate representation and possibly the text, are trained and utilized in succession to generate high-fidelity music. We explore two options for the intermediate representation, one using a spectrogram and the other using audio with lower fidelity. We find that the generated audio is not only able to faithfully reflect key elements of the text prompt such as genre, tempo, instruments, mood, and era, but goes beyond to ground fine-grained semantics of the prompt. Pretrained large language models play a key role in this story -- they are used to generate paired text for the audio of the training set and to extract embeddings of the text prompts ingested by the diffusion models. Generated examples: https://google-research.github.io/noise2music